- Grantmakers in the Arts
- 4055 21st Avenue West, Suite 100, Seattle, WA 98199-1247
- (206) 624-2312
- (206) 624-5568 Fax
Capitalization, Scale, and Investment: Does Growth Equal Gain? is a report from TDC, with support from the William Penn Foundation, that was presented at the GIA 2014 Conference by Susan Nelson, a primary author. The first part of the report analyzes date from the Cultural Data Project to take the temperature of the Philadelphia arts ecosystem in order to see how organizations fared over the five year period of 2007 to 2011. The second section of the report explores how to navigate the question of growth for an individual organization. To invest in growth that will contribute to sustainability, TDC contends that organizations and their supporters need to challenge their core assumptions and be relentlessly honest about their goals, what kind of investment it will take to actually achieve those goals, and whether the goals are achievable.
By Paul Shoemaker, writing for Stanford Social Innovation Review:
Southern Methodist University's National Center for Arts Research (NCAR) recently released its first annual Arts Vibrancy Index. This index ranked hundreds of communities, large and small, across the US on measures of arts vibrancy as defined by supply, demand, and government support for arts and culture on a per capita basis. Along with the report, NCAR released a web-based interactive heat map that show the relative strength of each community determined by scores for arts dollars, arts providers, government support, socio-economic factors, and other characteristics.
During the month of February, GIA's photo banner features work and projects sponsored by First Peoples Fund. Founded in 1995, First Peoples Fund is a national native arts and entrepreneurial organization dedicated to the preservation, advancement, and well-being of American Indian arts and culture, deeply rooted in Indigenous values and place-based practices. Its mission is to honor and support the Collective Spirit® of First Peoples artists and culture bearers.
We recently asked First Peoples Fund what they are excited about.
From Darren Walker, president of the Ford Foundation:
I am writing to share wonderful news regarding our extraordinary colleague Roberta Uno. In a continuation of the issues that she has worked on during her time at the Ford Foundation, Roberta will become the Director of Arts in a Changing America, a new national project engaging changing demographics through the lens of aesthetics, arts practice, cultural equity, and social justice which will be based at the California Institute of the Arts.
A new report from the Emily Hall Tremaine Foundation examines how business training being delivered to artists across the U.S. and leverages research conducted in the inaugural year of the Tremaine Foundation Fellowship in Arts Entrepreneurship at Arizona State University. “How It’s Being Done: Arts Business Training in the US” seeks to move beyond identifying the programs and organizations that are providing business training specific to the arts. The research also explores how training is being delivered, and where there are gaps.
By Kinsee Morlan at San Diego City Beat:
From Francis Hilario at The Philadelphia Business Journal:
From Eileen Cunniffe, writing for Nonprofit Quarterly:
Last week the US Department of Housing and Urban Development PD&R Edge magazine published “Catalizing Culture and Community through CDFIs.” In this article, Judilee Reed, director of The Surdna Foundation's Thriving Cultures Program, discusses the importance of community development finance institutions in the creative placemaking movement.
The cross-sector nature of this work suggests the existing infrastructure in the community development field, like community development finance institutions (CDFIs), could play an important role in helping artists, arts and culture organizations, and non-arts organizations build their capacity to sustain creative production long after dedicated funding for specific projects has passed. For many CDFIs, the role they play in providing both financing and technical assistance to support neighborhood-based projects and the growth of small business in low income communities implies they may also have the potential to pivot their services to engage artists and projects that support the development of arts and culture.